“One of the most underrated songwriters in American music, Steve Dawson’s newest venture is Funeral Bonsai Wedding, a jazz-folk collaboration that recalls the best of Tim Buckley or Astral Weeks-era Van Morrison. Those may seem like lofty notices, but Dawson has a way with melody and image that live up to them” — Riverfront Times

“There was a time when popular radio was defined by the craftsmanship and raw talent of folks like Al Green, Paul McCartney and Carole King. Steve Dawson would have fit in just fine. One of the great pop-rock voices of our time” — Jambase

The idea of FUNERAL BONSAI WEDDING came to Steve Dawson while riding a bus in his hometown of Chicago. Every day he passed a florist with three windows, each with a sign. “Funeral,” read one. “Bonsai,” another. “Wedding,” read the last. 

However random, Dawson realized the words sounded natural when put together, much like the group that would share its title. Indeed, when FUNERAL BONSAI WEDDING released its self-titled debut album in 2014, the collaboration appeared like it shouldn’t work. As the songwriter-singer behind Dolly Varden, an acclaimed Americana band from Chicago, Dawson’s roots are country and soul. He is joined by three Chicago jazz musicians — vibraphonist Jason Adasiewicz, drummer Charles Rumback and bassist Jason Roebke — known for their inventiveness on Chicago’s legendary free jazz scene, having participated in projects with people like Ken Vandermark, Ryley Walker, Nicole Mitchell, Jeff Parker, and Nels Cline, among many others.

Put together, the music of FUNERAL BONSAI WEDDING is unlike all of the above. On Last Flight Out, every sound is inverted: Adasiewicz’s vibes serve as the lead instrument, Dawson’s voice often leads to chants, and Rumback and Roebke shift time to move the music to side pockets as they move it forward. The closest comparison to the ephemeral blissed-out melodies is Van Morrison’s epic Astral Weeks, which aims for transcendence amid ordinariness. To reach those otherworldly heights, Dawson had to invert the process he was conditioned to within the context of a rock band.

This time out, Jason Roebke played a bigger role in writing the string arrangements to accompany Dawson’s songs, enhancing them in ways that made even the most downcast lyrics glow with beauty. “Jason added to the meaning of the songs. It’s pretty incredible. I had been playing with him for many years, but it shows me he’s paying attention to the full songs — not just his part, but the whole picture,” Dawson says. “It’s really wonderful.”

By shedding traditional song structures, and inspired by the open space created by his new collaborators, Dawson found himself gravitating towards more impressionistic lyrics, which happened to fit the surrealistic world that emerged since the last record. Those details creep into Last Flight Out through lyrics and moods that hover on the edge of both hope and despondency — A state that reflects the everyday news cycle. “The songs go unexpected places,” Dawson says. “I let my imagination go where it will. I didn’t try to confirm it to a traditional narrative.” 

The first thought had to be best thought since LAST FLIGHT OUT was recorded in a single day at Kingsize Sound Labs in Chicago with John Abbey at the controls. The band was fresh from a headlining performance at Constellation and wanted to capture that energy in just a few hours. 

For Dawson, the magic of FUNERAL BONSAI WEDDING comes from that blind trust. If Dawson hadn’t seen that florist window, if he hadn't agreed on a lark to improvise on a stage he'd never played, if he hadn’t decided to put his songs in the hands of musicians he barely knew at the time — He would have been stuck.

FUNERAL BONSAI WEDDING is the sound of starting over and not knowing what’s next until it happens.